My passion blog

My passion blog

Interview with Esteban and Erica , of “The locksmith”

Possibly  Esteban Lamothe  and  Érica Rivas  are at the moment of greatest exposure of his career. The first – which shone in  The Student - can be seen for a couple of seasons on local television (now part of the cast of  Guapas ), while the second illuminates one of the highest moments of  Wild Stories , by Damian Szifron . Now the protagonist together  The locksmith , the new film of Natalia Smirnoff.

A couple in crisis decides to separate and just at that moment appears an unexpected news that can change everything. It was not planned, but she is pregnant and he receives the novelty like a baldazo of icy water. He is Sebastián, a locksmith who leads an ordinary life, traversed by the usual gauges of that craft invented to get us out of trouble. But this time he is locked up. What will be the key to solving the dilemma that has just been presented to you without prior notice? And worse, with the news comes another novelty, a little more disturbing than that of that unwanted fatherhood: a strange gift to reveal what others do not know about themselves or, more than once, know but They insist on denying. When Natalie Smirnoff  thought of  Esteban Lamothe  for the role of this seer emergency locksmith beset by existential doubts, the actor born in Ameghino was not yet a TV star. But he had garnered many accolades for his starring in  El estudiante , by  Santiago Miter , the great success of independent Argentine cinema in recent years. With  Erica Rivas , the director had, and has, a long-standing relationship. They are neighbors and friends, they were working together in the writing of another project, and although Smirnoff had first thought about a twenty-something girl, she ended up convinced that it was Rivas the actress who could bring sensitivity and dramatic power to a role whose importance grew in the Stage of assembly. “The story of the film seems wonderful , “ says the actress, who this year also has looked with his brilliant portrayal of a furiously jealous girlfriend in  wild tales of  Damián Szifrón . “It’s a small, intimate production, completely different from Wild Stories, it’s looking for another audience. And I had a minor role, so Natalia had some objections to propose. But with the final assembly ended up taking relevance. I am very happy with the result. “  Lamothe and Rivas joined  Sergio Boris,  María Onetto ,  Santiago Gobernori  and the recently deceased  Arturo Goetz .

The two have worked extensively in theater and television. How have they experienced the difference with cinema? 
They are very different trades. In the cinema you work the expression in a more introspective way. It is important a gesture, a look. The theater needs a more expressive, more expansive body. We recorded the rehearsals of a work that has just been released – Ojo por ojo, directed by Augusto Fernandes, at Margarita Xirgu – and more than once I saw myself and said “this is fine if it were cinema, but in theater it is not going to say nothing”. On the other hand, you have to understand the imprint that the director brings. A film director is all his career, not a single film. It has a color from the beginning, and that must know how to accompany it, be malleable. From the television I have a very nice memory of my role in Married with children because I never thought that I would be able to reach so many people with my work, it was something that had not happened until that moment. But I have some reservations. I do not have a TV at home and every time I see a little, by chance, I’m amazed. With light, with the ugly thing you see everything, with the issues they deal with and the way they treat them … It even happens to me with advertisements: I can not believe what they say and how they say it. I think you have to do the exercise of not watching television for a few days to realize what you are doing in your head. It is almost all puterío, banalidad. I do not have a TV at home and every time I see a little, by chance, I’m amazed. With light, with the ugly thing you see everything, with the issues they deal with and the way they treat them … It even happens to me with advertisements: I can not believe what they say and how they say it. I think you have to do the exercise of not watching TV for a few days to realize what you are doing in your head. It is almost all puterío, banalidad. I do not have a TV at home and every time I see a little, by chance, I’m amazed. With light, with the ugly thing you see everything, with the issues they deal with and the way they treat them … It even happens to me with advertisements: I can not believe what they say and how they say it. I think you have to do the exercise of not watching TV for a few days to realize what you are doing in your head. It is almost all puterío, banalidad.

 It is very likely that next year do not do television. I would prefer to focus on the cinema, perhaps on a theater that interests me especially. Not that he is frightened much less – the experience of Guapas is very good – but the television generates certain addiction. I need to empty myself a bit to face other jobs from a different perspective. An actor feeds on what lives with the people around him, listening to how your friends talk. I need space to empty myself, recharge me and come back refreshed. I need to empty myself a bit to face other jobs from a different perspective. An actor feeds on what lives with the people around him, listening to how your friends talk. I need space to empty myself, recharge me and come back refreshed. I need to empty myself a bit to face other jobs from a different perspective. An actor feeds on what lives with the people around him, listening to how your friends talk. I need space to empty myself, recharge me and come back refreshed.

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“Now I come from three strips in a row, and that’s tiring. I’m an actor, I want to reach as many people as possible and I know that for that TV is key. But I’m tired and I would like people to rest a little of me, to stop seeing me for a while. “(Lamothe)

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How do you evaluate the proposals that come to you? What do they privilege?
Rivas: 
Basically, what the project has to do has to do with what I want to express at the moment they call me, to match my interests. Then I put myself at the disposal of the director and the idea. Over time, however, I began to rebel a little more because I feel that the experience allows me that license. Today I can tell a director “I swear this is not garpa, do not do it like that”. Ultimately, they decide, that they have in their hands the assembly. Likewise, doing what you want without a director realizing it is very difficult, although sometimes one tries it [laughs]. I am also fully aware of the enormous ego of the actors. It gives me shame that we always pretend to be a figurehead.

Lamothe: I consider the quality of the project according to my own convictions. As you work, priorities are changing, but I would not close the door to a debut feature if I am interested in what you are proposing. Human quality is very important, even if it sounds trite. Working quietly is essential because it is necessary to exchange ideas with a director. The relationship between a director and a protagonist is very intense, you marry for a while with them, so you have to be very eager to get on that trip with another person. If I could choose, I would devote myself mainly to the movies. But it’s a job, you have to adapt.

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